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A Time To Stand – Light Years

A Time To Stand are revitalizing the punk spirit. They’re a band of crusaders playing music and traveling from one spot to the next, spearheading tiny revolutions.



Sweeping and soaring guitar lines and melodic underpinnings are plentiful on A Time To Stand’s new record Light Years. The German punk outfit exert their talents in a big way here, committing to music and placing their fingers on the pulse of the genre that they adore. Adoration for punk rock these days is a rare occurrence when we see copious acts alter their material to fit trends. 

A Time To Stand aren’t partial to following the newest fads. Their straight-forward in your face punk is authentic and genuine, and they don’t develop songs to hit the mainstream, they’re doing this to alert us, to compel, to welcome us into their punk haven. Thrills aren’t painstakingly implemented on Light Years. This is a record of purpose and breakneck honesty. 

Light Years leaves behind a lasting effect after the final song dissipates. That urgency, the commentary on love’s breaking heart, the angst, and those spearheaded anecdotes, all bridge the gap and resonate. Most of us are naturally emotional but don’t like to slide into the grey. On Light Years, there are moments when the guitars let the sombreness shade through. 

The moments are not consistent as the instrumentals barge through. This is not a bad thing, as punk is supposed to ruffle us up. It’s supposed to take us on crusades through darkened days, dingy gig halls, and beersoaked hotel rooms. To live we must respect punk and its unconventionalities. It isn’t pretty, but it is far more original than a pop song that melts into your brain.

The record packs an almighty punch too and is eventful. “Gantville” thrusts and plays on the punk dynamic. It is a gratifying track which has a dark underbelly. Death and infection are explored topics. “Geometry” starts with arresting drumbeats until the guitars generate powerful riffs. The band describe politics and hypocrisy seeping into the framework. “No Part Of This” triggers a fast-paced, volatile sound. The riff is pleasing and the drama unfolds without a heads up. It is compelling work from a band cultivating their own style. “The Great Slasher Movie Ride” is a subtle note, a softer, expanding the band’s diverse approach to song-writing. There are no brazen guitar strokes here. 

A Time To Stand are revitalizing the punk spirit. They’re a band of crusaders playing music and travelling from one spot to the next, spearheading tiny revolutions. 

(Disconnect Disconnect Records)


Berwanger – Watching a Garden Die

Josh Berwanger continues to evolve as a songwriter



At the height of Vagrant Records’ early success in the late 90s, the label was buoyed by the incredible draw of their two biggest names- The Get Up Kids and Saves the Day. And while those two bands took a chunk of the notoriety, there were plenty of great bands that called the label home. One of those bands was The Anniversary. The Lawrence, Kansas band shared musical similarities with both TGUK and Saves the Day, but were unafraid to branch off into slightly more synthesised terrain that gave their songs an added element. Coupled with their super easy to digest harmonies and fantastic male/female vocals, songs like “The D in Detroit” still has a place in countless “favorite playlists” all these years later.

Since their initial break-up, guitarist and vocalist Josh Berwanger has been busy writing and recording a bevy of music under the moniker Berwanger. His recent discography is a talented kaleidoscope of songs that traverse genres from folk and indie, to more rock and straight forward singer/songwriter fare. There was plenty to like on his 2016 album Exorcism Rock, an album that delved into a little bit of psychedelia and fuzzed out indie rock. His 2017 album And the Star Invaders saw a gradual move away from the more electrified to the imaginative kind of singer/songwriter we’ve seen from the likes of Devendra Banhart. True to form, Berwanger continues to evolve as a songwriter, and his latest, Watching A Garden Die, is the next chapter in his thriving songwriter cabinet.

The gloomily titled record is mostly upbeat and diverse. While he may have shown a kinship to indie/folk songwriting of the Banharts and Obersts of the world previously, Watching a Garden Die features the kind of seasoned and more classic toned work you’d find on a Crosby, Stills & Nash record, or even a Paul Simon record. Songs like the softly, almost whispered “Even the Darkness Doesn’t Know”, and quietly moody, introspective “Paper Blues” (until that electric guitar solo hits) harks back to a time long ago of unfettered hair and soulful folk music. The album’s best moment is probably a combination of the wistful, pedal-steel toned Americana of “When I Was Young” and the equally effective, spacey indie rock of “The Business of Living”. The latter giving Grandaddy a run for their money in that music department. These two songs in particular showcase an artist fully aware and capable of his abilities to craft music that’s personal but exhibits the kind of draw you want from a record this close to the heart.

The album doesn’t have the more ruckus moments Berwanger exhibited in his earlier work (outside of perhaps, the more upbeat power-pop, new wavy “Bad Vibrations”). At times the album takes just a few listens to grab you. But when you listen to songs like the spritely “Friday Night” and the somber reflection of the twangy “I Keep Telling Myself” a few times more, you find the depth of the record. There are elements that reveal themselves on the second, third, fourth listen, and that’s rewarding.

Berwanger’s songwriting ability was never in doubt, and his new material continues to expand his songwriting reach. Watching a Garden Die, while not a frantic effort, is quiet composure.

(Wiretap Records)

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Fences – Failure Sculptures

Failure Sculptures is a steady outing



Christopher Mansfield, under his alter-ego, Fences, has made himself well known through the collaborations with Macklemore and Tegan & Sara. It’s set him up with well-deserved excitement for his new album Failure Sculptures. The genre of pop scores a good reputation with artists like Fences. I wouldn’t necessarily categorize this album as pop, but Failure Sculptures has catchy songs that will appeal to a large scale, however it keeps the integrity of accomplished music. Each song provides a story that allows you to drift into your own thoughts. He also uses idioms like there is no tomorrow.

“A Mission” is a lower-toned song that launches the album with an echoing sound of voice and guitar, and it sets an example of the whimsical type of music that is shown throughout the album. Mansfield has a way with words and was definitely listening in English class. A+ for storytelling. OK, you twisted my arm, I’ll point out some idioms: “body sways like trees in a storm” sung in “Paper Route” and “lately I just pass by like a cloud” heard in “Brass Band”. It’s a great way to paint a picture in your listeners head.  

“Same Blues” exposes a folk side to Fences. It has a lovely addition of cello in the background. It is enchanting and flows so well, which makes a terrific inclusion to the album. The plucking and acoustic sound of “Wooden Dove” has a powerful effect, and suits the song well. It follows the theme of echoes and storytelling. Although “War Kid” is a song about divorce, it is a pleasant way to end the album, and it features more idioms; “tears falling like bombs“.

This type of music allows you to drift and flow in and out of your own thoughts. It’s a friendly haunting and emotionally driven set of songs (and don’t forget about the idioms), and while it is quite predictable in a pleasant way, Failure Sculptures is a steady outing.


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